Time as a philosophical ontological category turns into thinking method in Arendt’s texts. The basis of this "transformation" is a redefining the Augustine’s terminology of time. This article focuses on the identification of the heritage Augustine thought about the concept of time in the philosophy of H. Arendt. It examines the mechanisms for the Augustinian time’s terminology in her papers - namely, the concepts of «hodiernus», «natalis» and the understanding of the time through the categories of "past", "future" and "present".
This article examines the different ways of the reconstruction of true and false memories: purposeful rethinking of the experience and the distortion of memories. The impact of the external and internal factors on the memory is discussed.
The article is concerned with results of content analysis of textbooks for high school in the area of social and human sciences. The author uses the typology of values introduced by S. Schwartz which consists of two value axes — “conservation — openness to change” and “selfassertion — caring about people and nature” — and describes values that underlie each subject area and then compares these values with results of mass surveys of the values of Russians.
Russian rock music of the 1980s - 2000s by the opinion of many scholars has become a phenomenon largely formed by the religious interests of its creators. For example, the fascination of one of the classics of Russian rock Boris Grebenshikov for Buddhism, Christianity and Hinduism is well known. But scholars rarely raise the question not about religious, but about esoteric influences in the works of Russian rockers. In the paper, we plan to review key influences of the esoteric teachings on the formation of Russian rock music of the turn of the century. This overview will examine in details the works of bands Va-Bank, Nautilus Pompilius, the Orgy of the righteous, Rada and Ternovnik, Civil defense and performers Sergei Kuryokhin, Vasily Shumov, Psoy Korolenko. It is possible to highlight several key questions that are important to the review: which of the representatives of Western esotericism inspired Russian musicians; what images, teachings, theories they used in their music and songs; how conscious was their appeal to esotericism; was it a tribute to fashion, artistic technique or an expression of personal opinion. The answers to these questions will help to reveal the specific nature of the influence of Western esotericism on the Russian rock and to show its originality or maybe even its uniqueness.
The paper examines the historical context underlying a series of peasants' visions that occurred in Verkhotursky district (Western Siberia) from 1687 until 1691. Most of the apparitions involved the Mother of God giving the recipients a variety of instructions. Most often she demanded that they cease cursing. As a result of the circulation of stories about these visions, governor (voevoda) Grigory Naryshkin ordered that those who cursed be fined but later cancelled this order in 1689. The paper argues against the older understanding, that these visions constituted inventions on the part of the local officials in order to fine peasants. It also reproduces examples of peasants' stories about the visions.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.